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Dissertations / Theses on the topic 'Historical novel'
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1
Thompson, Hannah. "Approaches to history and the historical individual in the Victorian historical novel." Thesis, University of Reading, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.628536.
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This thesis is concerned with the influence that certain forms of history writing in the nineteenth century had upon the process of capturing past experience as history through narrative. The thesis adopts a constructivist approach, investigating the ways that humans generate knowledge and meaning from their experiences and ideas. Working on the premise that the observation of the past is an active, constructive process of understanding, this study explores the development of the historical novel as a model of historical experience and knowledge. Chapter one presents an overview of nineteenth-century historiography to highlight the context in which the discipline of history adopted elements of empirical data analysis, and the influence these practices had upon the development of realism in the novel. The reasons behind the interest in history in the nineteenth century are explored, as are the rise of the historical novel and popular history writing that accompanied it. Chapter two examines Thackeray's treatment of grand narrative, exemplified in Thomas Macaulay's History of England, and centres on Thackeray's fictional memoir, The History of Henry Esmond. The chapter references Carlyle's work on the heroic, using Henry Esmond's position as historical participant and self-fashioned author to investigate the staging of history through narrative. Chapters three and four examine George Eliot's historical works, Romola and Middlemarch, in the context of Eliot's formulation of the historic imagination, and its effect upon the representation of history in her work. Romola and Middlemarch select hidden forms of historical narrative and develop different techniques of observation to relay a distinct view of the past through its representation. Romola perceives historic events from the position of the domestic, female central character, while Middlemarch studies the significance of un-historic acts through the un-historic narrative of Dorothea. Both texts draw upon Thomas Carlyle's essays on history and Past and Present to develop a view of history influenced by the processes used to describe its reanimation. Chapter five investigates Thomas Hardy's The Trumpet-Major, exploring the relevance of Hardy's selection of a historically 'insignificant' event for the subject of his novel. Carlyle's vision of world history is contrasted with Hardy's transformation of history into direct experience in the novel, and the chapter explores the implications that this idea of history has upon the construction of reality portrayed in his novels.
2
Hampe, Martínez Teodoro. "Seymour Menton, Latin America's New Historical Novel." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/101403.
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Drake, George A. "Historical space in the eighteenth-century novel /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9425.
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MacLeod, Mhairead Ellen. "Abduction : the writing of a historical novel." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/47637/1/Mhairead_MacLeod_Thesis.pdf.
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This is a practice-led project consisting of a historical novel Abduction and related exegesis.
The novel is a third person intimate narrative set in the mid-nineteenth century and is based on actual events and persons caught up in, or furthering, the mass dispossession of small farmers in Scotland known as the ‘Clearances’. The narrative focuses on the situation in the Outer Hebrides and northern Scotland. It is based on documented facts leading up to a controversial trial in 1850 that arose because a twenty year old woman of the period (the central protagonist, Jess Mackenzie) eloped with a young farmer to escape her parent’s pressure to marry a rival suitor, himself a powerful lawyer and ‘factor’ at the centre of many of the Clearances. The young woman’s independent ideas were ahead of her time, and the decisions she made under great pressure were crucial in some dramatic events that unfolded in Scotland and later in the colony of Victoria, to which she and her new husband emigrated soon after the trial.
The exegesis is composed of two unequal parts. It briefly considers the development of the literary historical fiction genre in the nineteenth century with Walter Scott in particular, a genre found useful in representing women’s issues of the Victorian era by Victorian and contemporary authors. The exegesis also briefly considers the appropriateness of the fiction genre (as opposed to creative nonfiction) in creating the lived experience in a fact-based work. The major part of the exegesis is a detailed, reflective analysis of the problem-solving process involved in writing the novel, structured by reference to Kate Grenville’s Searching for the Secret River – a work of metawriting that explains her creative process in researching and writing historical fiction based on fact.
5
Walker, Stanwood Sterling. "The classical-historical novel in nineteenth-century Britain." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3036607.
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Amand, Emilie. "Le roman de la contre histoire : entre contestation et tradition." Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H051/document.
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Cette thèse se propose de travailler à la définition d'un sous-genre du roman historique en expansion : le roman de la contre histoire, aussi appelé roman historique subversif. Les œuvres choisies permettent une analyse diachronique du problème, en commençant par la naissance du roman historique et allant jusqu'à nos jours. Pour cela, nous aborderons les œuvres de Scott, Hampâté Bâ, Roa Bastos, et Chamoiseau, s'attachant ainsi à différents continents et cultures, avec l'Europe, l'Afrique, mais également l'Amérique Centrale et l’Amérique du Sud. Pour cette recherche, il est nécessaire d'étudier le contexte de naissance de ces romans, ainsi que les moyens mis en place à l'écriture de cette histoire autre. Nous en viendrons à travailler sur le glissement de l'écriture de l'Histoire à celle d'une identité, ce qui nous poussera à nous interroger sur la place de la littérature dans la constitution de l'identité nationale. Nous ferons ici face à des controverses, étant donné que les romans vont partiellement à l'encontre des Histoires officielles, ce qui permettra de voir l'importance que peut avoir le point de vue autre dans la construction identitaire. La présence des contes et du folklore, sera étudiée afin de déterminer leur rôle dans la création de l'identité. Une étude de la réception de ces œuvres sera menée afin de voir l'impact concret de ces textes sur la construction identitaire. Ceci permettra donc d'avoir une vision totale de ce sous-genre en plein essor, et de voir son réel impact, amenant à une réflexion sur la place de la littérature dans la société actuelle ainsi que sur son rapport à l'histoireThis thesis proposes to work on the definition of a sub-genre of the expanding historical novel: the novel of the counter-history, also called subversive historical novel. The selected works allow a diachronic analysis of the problem, starting with the birth of the historical novel and going until our days. For this, we will cover the works of Scott, Hampâté Bâ, Roa Bastos, and Chamoiseau, thus focusing on different continents and cultures, with Europe, Africa, but also Central America and South America . For For this research, it is necessary to study the birth context of these novels, as well as the means put in place to write this other story. We will come to work on the shift from the writing of history to that of an identity, which will push us to question the place of literature in the constitution of national identity. We will face controversy here, since the novels go partially against the official histories, which will allow to see the importance that the other point of view can have in the construction of identity. The presence of tales and folklore will be studied to determine their role in the creation of identity. A study of the reception of these works will be conducted to see the concrete impact of these texts on the construction of identity. This will allow us to have a total vision of this sub-genre booming, and see its real impact, leading to a reflection on the place of literature in today's society and its relationship to history
7
Frisk, Angelica. "Medeltiden i din hand : En studie om skönlitteraturens möjlighet i historieundervisningen." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-36734.
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This study aims to investigate a historical novel and its reliability. By way of investigating gender and power with three of the characters the study resulted in normative behaviour among the investigated characters and a violent use of power significant for its time. The result of the study shows that there is high reliability in the novel in the aspects of gender and power.
8
Martin, Patricia L. "Minority protagonists in the young adult historical fiction novel." [Denver, Colo.] : Regis University, 2007. http://165.236.235.140/lib/PMartin2007.pdf.
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Dodwell-Groves, Laura. "The seventh bulb : a middle grade historical fiction novel." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31562.
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In this work of historical fiction, a twelve-year-old girl called Emmetje journeys
from the streets of Constantinople to the decks of a smuggling boat and on to the back
streets and canals of 17t h century Amsterdam. In her pocket she carries the bulb of a
unique blue tulip, and in her hand is a strange treasure map that uncovers the heart of a
nation's strange obsession.
Emmetje's mother had drawn tulips. Hovering beside the elegant petals she drew
butterflies, and on their wings she drew her map. Compelled by curiosity and an
adventurous spirit, Emme sets out to discover where her mother's map might lead. Her
journey is shared by her three-legged tabby cat and a cabin boy called Sander. Emmetje's
journey inevitably becomes one of self-discovery where fathers, mothers and horticulture
all play their part. The blue tulip bulb is the silent hero, but the not so silent metaphor for
Emmetje's identity. Precious, protected, rich with potential and waiting to bloom.Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
10
Carroll, Richard J. "Re-presenting the past : authenticity and the historical novel." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68033/1/Richard_Carroll_Thesis.pdf.
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This project involved writing Turrwan (great man), a novel set in Queensland in the nineteenth century, and an investigation into the way historical novels portray the past. Turrwan tells the story of Tom Petrie, who was six when he arrived with his family at the notorious Moreton Bay Penal Colony in 1837. The thesis examines historical fiction as a genre with particular focus on notions of historical authenticity. It analyses the complexities involved in a non-Indigenous person writing about the Australian Aboriginal people, and reflects on the process of researching, planning and writing a historical novel.
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Wolf, J. "Literary transgressions : constructing a transgender character within a historical novel, and, Rainbow, a novel." Thesis, Bath Spa University, 2016. http://researchspace.bathspa.ac.uk/7761/.
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This dissertation comprises a novel and contextualising research. This study deals with the creative and political problems that emerge when a writer attempts to write a convincing transgender character in a historical novel. It is both critical and intensely personal as it takes full account of both my feminist and my transgender points of view and refers to my own experience of living in a transgender body. Sometimes its focus is emotional and political. The study comprises two chapters and a conclusion. In the opening chapter I engage with De Beauvoir's comment that to be a 'man' is to be 'one', and describe how my own gender identity has influenced my construction of Mary Anne Ashley/Paul Smith in 'Rainbow'. I describe my usage of Somerset dialect as an attempt to unsettle the privileged position of standard English and my intention to make the gendered word 'boy' signify a masculine position that is not defined by anatomy. Finally I suggest that it can be hard for a transgender writer to inhabit a fictional transgender voice in a culture that has historically attempted to silence both. The second chapter deals with three novels whose writers have attempted to write from the viewpoint of a transgender character. I explore specific scenes from two of these novels in the light of both lesbian-feminist and transsexual criticisms (primarily those of Judith Halberstam and Jay Prosser). I then describe how I have attempted to subvert both the tropes of the 'mirror scene' ('The Well of Loneliness') and the 'transphobic attack' ('Sacred Country'). I finally investigate Eugenides' construction of Cal/liope from 'Middlesex' from a specifically trans viewpoint and suggest that it is problematic artistically and politically. The conclusion deals with how successful I consider my construction of a transgender character and transgender voice to have been, and looks toward the future.
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Kirca, Mustafa. "Postmodernist Historical Novels: Jeanette Winterson." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610813/index.pdf.
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The aim of this dissertation is to study postmodern historical novels, which are labeled &ldquohistoriographic metafictions&rdquo
(Hutcheon 1989: 92), in terms of their allowing for different voices and alternative, plural histories by subverting the historical documents and events that they refer to. The study analyzes texts from feminist and postcolonial literature, Jeanette Winterson&rsquo
s The Passion and Sexing the Cherry, and Salman Rushdie&rsquo
s Midnight&rsquo
s Children and Shame as examples in which the transgression of boundaries between fact and fiction is achieved. Basing its arguments on postmodern understanding of history, the thesis puts forward that historiography not only represents past events but it also gives meaning to them, as it is a signifying system, and turns historical events into historical facts. Historiography, while constructing historical facts, singles out certain past events while omitting others, for ideological reasons. This inevitably leads to the fact that marginalized groups are denied an official voice by hegemonic ideologies. Therefore, history is regarded as monologic, representing the dominant discourse. The thesis will analyze four novels by Winterson and Rushdie as double-voiced discourses where the dominant voice of history is refracted through subversion and gives way to other voices that have been suppressed. While analyzing the novels themselves, the thesis will look for the metafictional elements of the texts, stressing self-reflexivity, non-linear narrative, and parodic intention to pinpoint the refraction and the co-existence of plural voices. As a result, historiographic metafiction is proved to be a liberating genre, for feminist and postcolonial writers, that enables other histories to be verbalized.
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Lewis, Cassandra. "Sunshowers in Winter: A Novel." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1584.
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This is the beginning of a historical novel set in 1960’s Little Rock, Arkansas. The main character, Elsie Robinson, is forced to come home from her life in New York because of the sudden death of her father. She stays to look after her mother. She then meets Freddie, a white man, who somehow feels completely comfortable in her black community. In a time when everything seems to be falling apart, Freddie is a beam of light. If only their relationship weren’t illegal.
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Cabrera, Marta Jimena. "Writing civilisation the historical novel in the Colombian national project /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050307.143257/index.html.
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Elens, James N. II. "Facility 47 - A Novel." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/598.
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FACILITY 47 is a psychological horror novel set in Germany just after the end of World War II. The novel is written in a naturalistic style that seeks to ground paranormal genre elements in a believable world. The story follows a group of Americans, led by Michael Powell, as they seek out and become trapped within an abandoned Nazi research facility in the Harz Mountains that contains a very dangerous secret; an unknown force capable of controlling people’s actions and forcing them to destroy themselves. FACILITY 47 focuses on a character driven by greed, moral outrage at dubious American postwar policy, and a desire to create a world for himself where he is in control. In the end of the novel, Michael learns that the obsessive quest for control can have catastrophic consequences, but this discovery is made too late to save himself or his friends from the mysterious power inside the facility.
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Thai, Le Pham. "The tough-love proposal : a novel theodicy." Thesis, University of Pretoria, 2020. http://hdl.handle.net/2263/75028.
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In this study, we reviewed the literature concerning the problem(s) of evil and found that, while there is a consensus that the logical problem of evil as raised by J. L. Mackie has been successfully addressed by Alvin Plantinga’s “Free Will Defense,” the evidential problem of evil as argued by William Rowe has yet to be resolved. The various solutions suggested by recognized scholars (e.g., John Hick and Richard Swinburne) have not met with broad acceptance. Most of the efforts to resolve the problem have been focused on Rowes’ factual premise (i.e., there are gratuitous evils). This approach has been fraught with difficulties and uncertainties as the determination of “gratuitousness” may be “beyond our ken.”
Instead, this research aims to challenge Rowe’s theological premise (i.e., God prevents all gratuitous evils) by supplying a morally justifying reason (i.e., “tough-love) for God to exist in the presence of evil (gratuitous or otherwise). We also endeavor to stay within the bounds of Christian orthodoxy in affirming that God is omnipotent, omniscient, omnipresent, and the omnibenevolent creator of the universe.
As Rowe insisted on keeping the discussion within the narrow confines of Restricted Standard Theism (i.e., an Omnigod creator without other religious claims), in the section for non-theists, we introduce a “Tough-love Proposal” that does not rely on biblical or religious literature. As humans deny God’s existence, God lets them go their own way (resulting in good and evil) and in “tough love,” waits patiently for them to respond to his message of salvation as proclaimed by the Church and the Holy Spirit. The evils in this world (gratuitous, excessive, horrendous . . .) are strictly the results of people living independently from God. Rowe’s argument that the presence of “gratuitous” evils makes God’s existence improbable is answered by the commonsense notion of “tough love” as often used in the restoration of broken relationships. The numerous requirements advocated by scholars for a “successful” theodicy are shown to be met by the “Tough-love Proposal,” using findings from other fields of knowledge (e.g., economics, psychology . . .).
As God does not act in the same way toward believers and non-believers, in the section for theists, following the historical-grammatical method of hermeneutics (i.e., interpretation using lexical data, grammatical data, historical and cultural backgrounds, near and broader contexts), we apply Christian Scriptures and show that God promises that “all things work together for good to those who love God” (Romans 8:28), thus negating the possibility of gratuitous evils in (faithful) believers’ lives. The question raised by theists and non-theists concerning the creation of humans with “free will and no possibility of sinning” is answered by the “simplicity” of God, logically preventing him from creating a creature sharing the divine impeccability.
Additionally, we propose some theories concerning the “world of death” (i.e., our world with the “survival of the fittest”) and the world of life (i.e., a new heaven and a new earth). In God’s sovereignty, we are free to choose the world/path that we desire.Thesis (PhD)--University of Pretoria, 2020.
Church History and Church Policy
PhD
Unrestricted
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Graffeo, Warren J. "N'Awlins Po Boy." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1407.
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Abstract
N’Awlins Po Boy draws heavily on the author’s memories and recollections of growing up in the New Orleans of the 1940s and 1950s, but it is a work of fiction. Although the settings and scenes are rendered as accurately as memory allows, the circumstances, situations and people are entirely fictional. During the immediate post-WWII decade, the city went through a rapid series of changes, some calm and nearly unnoticed, others turbulent and upsetting to the natural order that had prevailed for more than two centuries. This is an account of those changes as they might have been seen through the eyes of a pre-teen boy.
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Mesquita, Maria Cláudia de. "Literatura e história : uma leitura de Lealdade (1997), de Márcio Souza /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/94067.
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Orientador: Ana Maria CarlosBanca: Altamir Botoso
Banca: Antonio Roberto Esteves
Resumo: Este trabalho apresenta uma leitura do romance histórico Lealdade (1997), de Márcio Souza, que mostra a trajetória do protagonista Fernando Simões Correia em busca de sua identidade. O enredo relembra episódios do século XIX, na província do Grão-Pará e Rio Negro, quando a região combatia por sua independência. Assim, a luta pela identidade cultural que se estabelece na província dá-se paralelamente àquela do protagonista: ao lado do embate entre a identidade e a alteridade que vemos registrado na narrativa histórica da região, vemos o protagonista pender ora à identificação com o "outro", ora ao afastamento dele, encarando-o como inimigo. A chegada da Corte portuguesa ao Brasil (1808) e a invasão de Caiena pelo exército português (1809) são fatos históricos que alteram a identificação que o protagonista, nascido em Belém, tem com os portugueses ou com os paraenses. Os procedimentos intertextuais, como aquele estabelecido com a trilogia do escritor gaúcho Érico Veríssimo, por exemplo, são destacados nesta leitura.
Abstract: This essay presents an analysis of the historical novel Lealdade (1997), written by Marcio Souza, which shows the protagonist Fernando Simões Correia in search of his identity. The plot remembers episodes of the nineteenth century, in the province of Grão-Pará and Rio Negro, when the region was fighting for its independence. Thus, the fight for cultural identity that is established in the province occurs parallely to protagonist's fight: there is the fight between identity and otherness, recorded in the historical narrative of the region, and a pendulum with the protagonist that sometimes has a identification with the "other" and sometimes he gets away from him, facing him as an enemy. The arrival of the Portuguese Royal Family to Brazil (1808) and the invasion of the Portuguese Army in Caiena (1809) are historical facts that change the identity of the protagonist, born in Belém-PA, has with the Portuguese or the people who were born in Pará. Intertextual procedures, such as that established with the trilogy of the Brazilian writer Erico Verissimo, for example, are featured in this reading.
Mestre
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Butler, Jonathan Matthew. "What happened to history?, mimetic transformations in the contemporary historical novel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58963.pdf.
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McNamara, Sallie. "The female historical novel 1918 : the body, boundaries and social space." Thesis, University of Portsmouth, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479127.
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This thesis considers the work of three female historical novelists in the period 1918-1945, Georgette Heyer, Norah Lofts and Lady Eleanor Smith. This is an in depth study of a hitherto neglected area. Previous studies fail to account for the differences between women's writing in the period and the complexities of the historical genre as disseminated by popular writers. It considers developments in the historical novel, and focuses on the way in which some women writers specialised in the genre and used it as a way of interrogating contemporary anxieties about sexual and social identities. It argues there is a relationship between the writer's social class and their representation of specific historical periods. The thesis is eclectic in the methodologies it deploys, and combines close textual analysis with contextual work. It draws on techniques of literary narrative analysis; its explanatory models are drawn primarily from anthropology and the sociology of culture. The work of the three authors is located within the specific conditions of the interwar literary context, including publishing and critics as well as the literary environment. They are also contextualised by reference to debates around notions of `the popular', and middlebrow fiction. The thesis looks at the specific historical concerns for women and for feminism, and how historical fiction comments on contemporary gender issues. It suggests these writers are preoccupied by the notion of social space and its boundaries, and they interrogate issues concerning the body and identity, sexuality, and class. The thesis asks how specific ideas such as narcissism, the male gaze or female surveillance help to deconstruct the eroticisation of heterosexual difference in the fictions. It argues historical fiction employs textual strategies such as the textual masquerade and specific tropes (i. e. Victorian, Regency) to secure the play in identity and sexuality. The textual pleasures offered by historical fictions to interwar female audiences are examined to consider whether they are conservative or transgressive, and suggests they offer multiple and diverse readings. The thesis shows how historical fictions invoke hierarchies of the past in order to comment on, or avoid, tensions arising from contemporary interwar structures.
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Bogiatzis, Demetris. "Free spirit : a historical novel on the life of Nikos Kazantzakis." Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/849619/.
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The novel renames Nikos Kazantzakis as Cosmas Eleftherakis and follows him during the last six months of his life. It dramatises imaginary meetings between Eleftherakis and Albert Camus, Eleftherakis' trip to China, conspiracies against him orchestrated by the Church of Greece and the Greek Writers Society. The critical component surveys the historical novel and Kazantzakis' own historical novels.
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Cassidy, Camilla Mary. "Iron times and golden ages : nostalgia and the Mid-Victorian historical novel." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f09f822b-9732-467c-ba2c-785890fee64f.
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This thesis examines nostalgia as a central literary trope of burgeoning modernisation in the mid-Victorian historical novel. Nostalgia began as a pathological form of homesickness and rapidly engaged with the perceived distancing from the past brought about by accelerated modernisation. This thesis suggests that literary representations of social, cultural and technological change echo nostalgic reactions of loss and longing. Charles Dickens, William Makepeace Thackeray, Elizabeth Gaskell and George Eliot are the primary focus of this study. Selected works by these authors are situated within the wider context of Victorian historical fiction which – following Walter Scott’s phenomenal success at the beginning of the century – became, as Franco Moretti put it, a ‘key genre’ in the Victorian era. Nostalgia’s first victims were soldiers and students displaced from home by new opportunities for mobility and new reasons to travel long distances and live away from home; it was a disease that responded to modernisation or, as Kevis Goodman has put it, ‘historical growing pains’. Nostalgia’s combination of historical and psychological dimensions, I argue, made it an aesthetic peculiarly suited to the historical novel. This thesis suggests that nostalgia was an important novelistic trope during the nineteenth century and argues that it quickly became enmeshed with the historical novel in a way that has seldom been acknowledged. Because of its medical origins, alongside its continued development as a poetic trope, nostalgia provided a language with which to intertwine emotional and psychological reactions to change with the fictional representation of real historical events. The thesis begins with a detailed account of nostalgia’s etymological history, scientific entanglements and early literary manifestations; the introduction establishes the theoretical and historical framework for the thematically organised chapters that follow. Chapter 1 explores the interlacing of personal and historical subject matter in Thackeray’s historical fiction. This chapter suggests that these interactions took place in Thackeray’s historical fiction through the mingling of nostalgic tropes in the person of his central protagonists. These figures frequently follow Scott’s Edward Waverley in being insipid spectator-participants who have been displaced from their homes and (directly or indirectly) mediate events from a perspective of nostalgic exile. Chapter 2 considers the transformation of landscape as a node of nostalgic representation. It explores the confusion of time and place in the original case studies collected by doctors studying nostalgia as a disease in relation to nineteenth-century representations of past landscapes. It suggests that part of the historicising potential of geographical places comes from this instinctive association of time with place. This overlap is exploited in the historical novel to represent changing times via changing places. Chapter 3 takes George Eliot’s Romola, frequently criticised both by contemporary commentators and subsequent critics for being too full of minutely researched objects, as a illustrative example of how things can become ‘memorative signs’ around which to build a narrative. This ‘clutter’ is reinterpreted as a system of souvenirs, artefacts and mementoes through which public history is reconstructed from excavated fragments of private life. Chapter 4 explores how mid-Victorian historical fiction tested the limits of its own nostalgic tropes. It uses Sylvia’s Lovers to probe the point at which forgetfulness overtakes the most carefully memorialised people and events. It discusses the ways in which these novels use nostalgia to represent a perilous closeness between memorialisation and erasure. It considers whether a trope premised on loss might require the threat of encroaching historical oblivion to complete its own metaphors. The thesis concludes with a coda looking forward to later nineteenth-century uses of nostalgia in historical fiction through a reading of Thomas Hardy’s The Trumpet Major (1880) and The Mayor of Casterbridge (1886).
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Penazzi, Leonardo. "The fellow (novel) ; and Australian historical fiction, debating the perceived past (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0070.
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Novel The Fellow What is knowledge? Who should own it? Why is it used? Who can use it? Is knowledge power, or is it an illusion? These are some of the questions addressed in The Fellow. At the time of Australian federation, the year 1901, while a nation is being drawn into unity, one of its primary educational institutions is being drawn into disunity when an outsider challenges the secure world of The University of Melbourne. Arriving in Melbourne after spending much of his life travelling around Australia, an old Jack-of-all-trades bushman finds his way into the inner sanctum of The University of Melbourne. Not only a man of considerable and varied skill, he is also a man who is widely read and self-educated. However, he applies his knowledge in practical ways, based on what he has experienced in the
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Rushworth, Iain David. "Novel methods for the detection of historical biocidal residues in heritage environments." Thesis, University of Strathclyde, 2016. http://digitool.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=27830.
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Work in this thesis is comprised of three inter-related projects to develop methods for detection of biocide residues in heritage environments. In the first phase of the work gas- or liquid-chromatographic methods of analyses were developed to detect 10 target analytes (aldrin, camphor, chloronaphthalene, dichlorodiphenyltrichloroethane, dichlorvos, dieldrin, endrin, hexachlorocyclohexane, naphthalene and thymol). The results obtained were summarised in a flowchart that could be easily interpreted by potential end-users (non-scientific personnel in heritage environments). The utility of the methods was demonstrated by performing a number of case studies in U.K. based heritage institutions. A number of the target analytes (camphor, chloronaphthalene, hexachlorocyclohexane, naphthalene) were successfully detected in the vapour-phase across several institutions and a tentative identification of dichlorvos was made after swabbing a case study object. The sampling technique for the developed methods was performed by museum staff after sending samplers to institutions via Royal Mail, highlighting the ease with which sample collection for these techniques can be conducted. The analysis showed that the concentrations of the substances detected in air were not likely to pose a significant hazard to human health, demonstrating the potential of the developed methods for use as a means of determining the safety of those working with the contaminated objects. In the second phase of work, an agar sensor was loaded with an immobilised enzyme, acetylcholinesterase, to develop a sensor for the detection of organophosphates in swab or vapour-phase samples. The presence of a model organophosphate (dichlorvos) inhibited a colour change reaction in which the enzyme substrate, indoxyl acetate, was oxidised to indigo after undergoing an enzyme-catalysed hydrolysis. This sensor potentially has significant advantages over current methods of detection for organophosphate pesticides in heritage institutions, as it was shown to be simple, cheap, easy to use and did not require specialist training or equipment to perform the analysis or determine the result. The developed method had a detection limit of 13 mg dm-3 dichlorvos in solution, and masses of as low as 20 μg were shown to provide positive results when collected using a swab. Furthermore, the gels developed have a shelf life of several weeks and are thus easily transported for use within heritage institutions. Significantly, the developed organophosphate sensor was also demonstrated to work in the vapour-phase, possibly allowing objects considered too fragile for contact sampling to be tested for the presence of organophosphate pesticides. Finally, preliminary work was conducted to develop a method for the determination of mercury in heritage environments. Silica xerogel or agar hydrogel supports were used to immobilise diphenylcarbazone (DPC), a colorimetric reagent used for the detection of mercury, in order to address an unmet need for simple and cost-effective detection of organic biocides. Agar gel was considered to be the most suitable matrix and was used to form the basis of a cheap, easy to use, selective and sensitive method for the detection of mercury chloride in heritage environments. This work was concluded by spiking simulated objects with mercury chloride solution, following detection with the newly developed sensor. The sensor was shown to produce a colour change that was readily observable using the naked eye down to concentrations of 10 mg dm-3 without the need for instrumentation, offering a significant cost advantage over established techniques for the detection of mercury in heritage institutions such as x-ray fluorescence spectrometry. DPC gels were also shown to be effective when dried. This significantly extended the shelf life of the DPC reagent, which, according to literature studies, previously required preparation immediately before use. The phases of work presented here have developed several novel methods for the detection of both organic and inorganic biocides in heritage institutions. The work was specifically focussed on making the developed methods suitable for use by untrained personnel from a non-scientific background without the need for specialist training or equipment.
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Penazzi, Leonardo. "The fellow (novel) : and Australian historical fiction, debating the perceived past (dissertation) /." Connect to this title, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0070.
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Gradidge, Claire. "Innovating from tradition : creating an historical detective novel for a contemporary audience." Thesis, University of Winchester, 2018. http://repository.winchester.ac.uk/1234/.
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As a writer seeking to construct a detective text as part of a research study, I looked to the work of previous authors to inform and contextualise the making of a fiction which would both respect and test genre boundaries. A remarkably adaptable genre, detective fiction has, from its early beginnings to the present day, offered the opportunity for writers to create texts which, while introducing changes to the genre and expanding its boundaries, nevertheless remain of the genre. My thesis is presented in two parts. The first is the creative element: a historical detective novel entitled Close to Home, set in the small town of Romsey during World War II. Historically and geographically accurate, the characters and events are entirely fictional. The novel demonstrates how my practice of reading as a writer – a reiterative and multi-layered exploration of the work of authors Allingham, Sayers, Tey and Peters from the twentieth century, and Penney, Griffiths and McPherson from the twenty-first century – has enabled me to create my own text. Patterned on the milieu and tropes of the earlier detective fictions and contextualised by the later works, Close to Home presents a fiction in which plot and writing technique express elements of innovation to the classic detective text. The second part is a commentary reflecting on my research process, tracing the development of my practice of reading as a writer. It explores the way in which reading and writing were inextricably linked: so that my reading influenced and inspired the creation of my novel, while the writing focused my reading practice. In offering an account of how a specific creative writing research study has been undertaken, it suggests how this can illuminate individual practice and be disseminated to other creative writing practitioners.
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Simon, Christine Anne. "The writing of a historical novel (entitled Chimera), together with an analytical commentary." Thesis, University of Chester, 2011. http://hdl.handle.net/10034/216810.
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Chimera is set in England and France in the present day and at the turn of the nineteenth century. Henri de Saint-Gilles was executed as a spy in London in 1813 on the evidence of his friend Richard Turnbull. Two hundred years later the novel’s twenty-first-century protagonists, Julia Dalton and Peter Marchmont, are both researching the events surrounding this incident. Marchmont, a delusional café-owner, is convinced that his ancestor Saint-Gilles was wrongly accused and that Turnbull was in fact the spy; since there is no evidence for this version of events, Marchmont has decided to produce it through an elaborate forgery. Dalton, an ambitious postgraduate student who has run out of leads in her research, agrees to pool resources with Marchmont. Her research takes her to Paris, where she meets the eccentric academic Mathias Fournier; together they visit the Château Ruffec, the Saint-Gilles family seat, in the Charente. Here and at the university of Poitiers, they discover documents written by Saint-Gilles’s sisters, Rosine and Manon, concerning a visitor to the château in the summer of 1794. This visitor, who is also the father of Rosine’s illegitimate son, is subsequently discovered to be Richard Turnbull, a fact which has dramatic implications for Marchmont’s understanding of his ancestry. Dalton’s boyfriend Miles Carter, a police detective, has meanwhile become suspicious of her relationship with Marchmont and begins his own investigations, looking into Marchmont’s past and his connection with the career criminal Drue Paulin whom he has employed to steal documents to order. In this novel, past and present are interwoven. The historical narrative proceeds through fictional fragments of varying length, such as diaries, letters and memoirs, many of them written by Turnbull. These alternate with the twenty-first-century narrative and occur in the order of their discovery; thus the historical story is not presented chronologically but jumps around in time. It is also incomplete: there are hiatuses in the narrative, some of which are not explained. Running through the novel, but separate from the main narrative, are the sections of Saint-Gilles’s trial; these provide an official version of events which is complicated, and in places contradicted, by the rest of the narrative. A significant element of the plot concerns Turnbull’s hunt for the French spy in 1812. This is narrated in a journal purloined by Dalton early in the novel, but most of which she is unable to decipher until much later. (Her possession of this journal eventually enables her to detect a factual error in Marchmont’s forgery which would otherwise have gone unnoticed.) The concept of the past is here complicated by the fact that the events of 1812 are linked in Turnbull’s eyes with two significant episodes in his past: the death of his mother in 1788 following her entry into an extreme religious community run by the eccentric preacher Ezekiel Juggins; and an episode of both personal and political significance, only partially explained, which took place in Paris in 1793-94. All the characters involved in these earlier incidents (Juggins, Saint-Gilles and the American John Newman) happen to be in London in the summer of 1812 and are investigated by Turnbull; it is not entirely clear, however, to what extent his official remit masks a personal one. The open-ended nature of research and the relative nature of time are emphasized by the novel’s coda, which takes place in 2028; Dalton receives from Mathias Fournier a copy of two letters written by Richard Turnbull from Paris detailing his meeting in 1825 with the son whom he had believed, on Saint-Gilles’s word, to have died at the age of fourteen. Ambiguity is a major theme in this novel, and to express this the wave-particle complementarity of light has been used, both thematically and as a metaphor. Much of the plot of Chimera rests on Turnbull’s identity: was he a government agent, a French spy or a mere wandering scholar? Dalton considers the idea that Richard Turnbull might best be understood, like light, in terms of a ‘both/and’ paradigm rather than an ‘either/or’ one. The purpose here has been to link forms of duality and ambiguity which have long been recognized in literature (paradox, spying and betrayal, for example) with what appears to be a fundamental ambiguity at the heart of the material universe. One of the intentions underlying this novel was to produce a work which combines plot and suspense with intellectual weight. Through its use of subjective narrative as the means by which the historical plot is advanced, Chimera foregrounds the process of research and the slipperiness of narrative, whether historical or fictional. It is meant to raise questions surrounding the nature of textual evidence: the way in which it influences our view of history; the tension between subjectivity and objectivity; the sometimes tenuous relationship between ‘truth’ and ‘fiction’. The accompanying analytical commentary consists of five essays. The first examines various aspects of the writing of the novel; it discusses the origins of Chimera, some of the influences on it and the narrative techniques and decisions which informed it, including the ways in which the quantum theory of light has been incorporated into the narrative. The remaining four chapters discuss the main areas of research which contributed to the writing of the novel. First, two key texts are analyzed: Thomas Mann’s Doctor Faustus, a polyphonic novel which examines the rise of Nazism in Germany, and John Banville’s The Untouchable, a roman à clef based on the life of Anthony Blunt. These untypical examples of the amorphous genre of historical fiction share features, both with each other and with Chimera; in addition, they demonstrate how history may be incorporated into fiction in an intelligent and imaginative way. Chapter IV, ‘Conventicles and Politics’ discusses some of the essential historical research necessary for the writing of Chimera. The themes of dissenting religion and political radicalism are central to this novel (they are brought together in the opposition of Richard Turnbull and Ezekiel Juggins); the complex relationship between them in the late eighteenth and early nineteenth centuries was a defining feature of this period and provided a focus for the historical research carried out during the writing of the novel. Chapter V of the commentary combines a discussion of both history and science. First, it examines the historical controversy surrounding the nature of light in the early nineteenth century, a controversy touched on by Richard Turnbull in his account of Thomas Young’s lecture on light at the Royal Society in 1803. Young’s double-slit experiment is then compared with that of Richard Feynman in the twentieth century, and the implications of wave-particle complementarity are discussed.
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Escobar, Villegas Julia. "Memoria ficcional: contextos y voz narrativa en "Muy caribe esta" de Mario Escobar Velasquez." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522336352279308.
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Mesquita, Maria Cláudia de [UNESP]. "Literatura e história: uma leitura de Lealdade (1997), de Márcio Souza." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94067.
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Este trabalho apresenta uma leitura do romance histórico Lealdade (1997), de Márcio Souza, que mostra a trajetória do protagonista Fernando Simões Correia em busca de sua identidade. O enredo relembra episódios do século XIX, na província do Grão-Pará e Rio Negro, quando a região combatia por sua independência. Assim, a luta pela identidade cultural que se estabelece na província dá-se paralelamente àquela do protagonista: ao lado do embate entre a identidade e a alteridade que vemos registrado na narrativa histórica da região, vemos o protagonista pender ora à identificação com o “outro”, ora ao afastamento dele, encarando-o como inimigo. A chegada da Corte portuguesa ao Brasil (1808) e a invasão de Caiena pelo exército português (1809) são fatos históricos que alteram a identificação que o protagonista, nascido em Belém, tem com os portugueses ou com os paraenses. Os procedimentos intertextuais, como aquele estabelecido com a trilogia do escritor gaúcho Érico Veríssimo, por exemplo, são destacados nesta leitura.
This essay presents an analysis of the historical novel Lealdade (1997), written by Marcio Souza, which shows the protagonist Fernando Simões Correia in search of his identity. The plot remembers episodes of the nineteenth century, in the province of Grão-Pará and Rio Negro, when the region was fighting for its independence. Thus, the fight for cultural identity that is established in the province occurs parallely to protagonist’s fight: there is the fight between identity and otherness, recorded in the historical narrative of the region, and a pendulum with the protagonist that sometimes has a identification with the other and sometimes he gets away from him, facing him as an enemy. The arrival of the Portuguese Royal Family to Brazil (1808) and the invasion of the Portuguese Army in Caiena (1809) are historical facts that change the identity of the protagonist, born in Belém-PA, has with the Portuguese or the people who were born in Pará. Intertextual procedures, such as that established with the trilogy of the Brazilian writer Erico Verissimo, for example, are featured in this reading.
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Herbert, Elanna, and n/a. "Hannah�s Place: a neo historical fiction (Exegesis component of a creative doctoral thesis in Communication)." University of Canberra. Communication Media & Culture Studies, 2005. http://erl.canberra.edu.au./public/adt-AUC20070122.150626.
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The creative component of my doctoral thesis articulates narratives of female
experience in Colonial Australia. The work re-contextualises and re-narrativises
accounts of events which occurred in particular women�s lives, and which were
reported in nineteenth century newspapers. The female characters within my novel are
illiterate and from the lower classes. Unlike middle-class women who wrote letters
and kept journals, women such as these did not and could not leave us their stories.
The newspaper accounts in which their stories initially appeared reflected patriarchal
(and) class ideologies, and represented the women as the �other�. However, it is by
these same textual artefacts that we come to know of their existence.
The multi-layered novel I have written juxtaposes archival pre-texts (or intertexts)
against fictional re-narrativisations of the same events. One reason for the use of this
style is in order to challenge the past positioning of silenced women. My female
characters� first textual iterations, those documents which now form our archival
records, were written from a position of hegemonic patriarchy. Their first textual
iteration were the record of female existence recorded by others. The original voices
of the fictionalised female characters of my novel are heard as an absence and the
intertext, as well as the fiction, now stands as a trace of what once existed as women�s
lived, performative experience.
My contention is that by making use of concepts such as historiographic metafiction,
transworld identities, and sideshadowing; along with narrative structures such as
juxtaposition, collage and the use of intertext and footnotes, a richer, multidimensional
and non-linear view of female colonial experience can be achieved. And
it will be one which departs from that hegemonically imposed by patriarchy. It is the
reader who becomes the meaning maker of �truth� within historical narration.
My novel sits within the theoretical framework of postmodern literature as a variant
on a new form of the genre that has been termed �historical fiction�. However, it
departs from traditional historical fiction in that it foregrounds not only an imagined
fictional past world created when the novel is read, but also the actual archival
documents, the pieces of text from the past which in other instances and perhaps put
together to form a larger whole, might be used to make traditional history. These
pieces of text were the initial finds from the historical research undertaken for my
novel. These fragments of text are used within the work as intertextual elements
which frame, narratively interrupt, add to or act as footnotes and in turn, are
themselves framed by my female characters� self narrated stories. These introduced
textual elements, here foregrounded, are those things most often hidden from view
within the mimetic and hermeneutic worlds of traditional historical fiction. It is also
with these intertextual elements that the fictional women engage in dialogue. At the
same time, my transworld characters� existence as fiction are reinforced by their
existence as �objects� (of narration) within the archival texts. Both the archival texts
and the fiction are now seen as having the potential to be unreliable.
My thesis suggests that in seeking to gain a clearer understanding of these events and
the narrative of these particular marginalised colonial women�s lives, a new way of
engaging with history and writing historical fiction is called for. I have undertaken this
through creative fiction which makes use of concepts such as transworld identity, as
defined by Umberto Eco and also by Brian McHale, historiographic metafiction, as
defined by Linda Hutcheon and the concept of sideshadowing which, as suggested by
Gary Saul Morson and Michael Andr� Bernstein, opens a space for multiple historical
narratives.
The novel plays with the idea of both historical facts and historical fiction. By giving
textual equality to the two the border between what can be considered as historical
fact and historical fiction becomes blurred. This is one way in which a type of textual
agency can be brought to those silenced groups from Australia�s past. By juxtaposing
parts of the initial textual account of these events alongside, or footnoted below, the
fiction which originated from them, I create a female narrative of �new writing�
through which parts of the old texts, voiced from a male perspective, can still be read.
The resulting, multi-layered narrative becomes a collage of text, voice and meaning
thus enacting Mikhail Bakhtin�s idea of heteroglossia.
A reading of my novel insists upon questioning the truthfulness or degree of reliability
of past textual facts as accurate historic records of real women�s life events.
It is this which is at the core of my novel�an historiographic metafictional
challenging by the fictional voices of female transworld identities of what had been
written as an historical, legitimate account of the past. This self-reflexive style of
historical fiction makes for a better construct of a multi-dimensional, non-linear view
of female colonial experience.
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Jonynaitė, Dalia. "Investigation of Historical Analogues and Sol-Gel Preparation of Novel Inorganic Cobalt-Based Pigments." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110222_154516-45308.
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X-ray diffraction analysis (XRD), infrared (IR) spectroscopy and scanning electron microscopy have been used for the characterization of cobalt-based pigments (Kremer Pigmente) and their lead-based glazes.It was also demonstrated that XRD analysis could be successfully used for the identification of cobalt pigments cobalt violet brilliant light CoNH4PO4•H2O, cobalt blue light, cerulean blue, cobalt green bluish CoO·ZnO in their glazes. However, only non-oxide cobalt pigments cobalt yellow [K3(Co(NO2)6]•3H2O, cobalt violet brilliant light and cobalt violet dark Co3(PO4)2 could be determined in their glazes using IR spectroscopy. The similarity of all SEM images of cobalt-based glazes let us to conclude, that the main morphological features of glazes are not dependent on the nature of cobalt pigment. The single phase cobalt violet light brilliant pigment has been synthesized using a simple co-precipitation approach. The characteristics of the obtained product were compared with those of a commercial sample purchased from Kremer Pigmente. For the first time to our knowledge, it was demonstrated that the characteristic Si-O absorption band at 812 cm-1 could be successfully used as indicator in the evaluation of molar ratio of CoO and SiO2 in their mixture. The novel method for the determination of SiO2 in physical mixtures of CoO ir SiO2 (in the range 9,1-50 %) or blue cobalt smalt pigment (CoO×nSiO2) (in the range 20-50 %) by FTIR spectroscopy is suggested. New cobalt-based... [to full text]Atlikta istorinių kobalto pigmentų analogų Rentgeno spindulių difrakcinė analizė parodė, kad metodas efektyvus, nustatant kobalto šviesiai violetinį CoNH4PO4•H2O, kobalto mėlynąjį šviesų, ceruleumą ir kobalto žalsvai mėlyną CoO·ZnO, jų švino glazūrose, bet netinka aureolino [K3(Co(NO2)6]•3H2O, kobalto tamsiai violetinio Co3(PO4)2, kobalto mėlynojo tamsus, kobalto melsvai žalio ir smaltos CoO•nSiO2 nustatymui. IR spektroskopiniai tyrimai parodė, kad šis metodas efektyvus, kokybiškai nustatant neoksidinius kobalto pigmentus aureoliną, kobalto šviesiai violetinį, kobalto tamsiai violetinį jų švino glazūrose. Paprastu nusodinimo metodu susintetintas kobalto pigmentas violetinis šviesusis CoNH4PO4, pasižymintis analogiškomis fizikinėmis savybėmis, kaip ir komercinis Kremer Pigmente pigmentas. Sukurtas naujas, patogus ir pakankamai tikslus IR spektroskopinis SiO2 kiekio CoO ir SiO2 mišiniuose (ribose tarp 9,1-50 mol%) ir kobalto pigmente smaltoje CoO×nSiO2 (ribose tarp 20 iki 50 mol%) nustatymo metodas. Zolių-gelių metodu susintetinti ir visapusiškai ištirti nauji kobalto pigmentai: špinelio struktūros kobalto aliuminatas CoAl2O4 ir chromatas CoCr2O4 bei kobalto, aliuminio ir neodimio oksidų mišiniai (CoAl1,75Nd0,25O4, CoAl1,5Nd0,5O4, CoAlNdO4), pasižymintys spalvinėmis keraminių pigmentų savybėmis. Pirmą kartą zolių-gelių metodu susintetinti ir visapusiškai ištirti nauji kobalto pigmentai: vienfazis perovskito struktūros neodimio kobaltatas NdCoO3, mišrūs perovskitiniai neodimio... [toliau žr. visą tekstą]
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Leafgren, Luke Anthony. "Novelizing the Muslim Wars of Conquests: The Christian Pioneers of the Arabic Historical Novel." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10362.
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During the Arabic cultural renaissance of the nineteenth century known as the nahda, Christian Arabs made a substantial contribution to the development of fiction and journalism. Among these pioneers, Salim al-Bustani, Jurji Zaydan, and Farah Antun were inspired by translations of European fiction to write the first historical novels in Arabic. Their narrations of the Muslim wars of conquest are carefully constructed blends of history and fiction that emphasize the cultural and religious values that Christian and Muslim Arabs hold in common. In their novels, these authors celebrate the historical achievements of the Arabs and seek to inspire a new sense of Arab cultural identity, open to Christians and Muslims alike and based on shared language, history, territory, values, and aspirations for reform. In this way, these authors respond to the sectarian tensions of their time, European imperialism, and the challenges of modernism with ideas that would become central to Arab nationalist discourse in the twentieth century.
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Rebane, Gala [Verfasser]. "Re-Making the Italians : Collective Identities in the Contemporary Italian Historical Novel / Gala Rebane." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042415846/34.
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Richardson, Heather Evelyn. "Freethinkers : a novel ; and, Inventing history : how do research, imagination and memory fuse creatively in the writing of an historical novel?" Thesis, Open University, 2013. http://oro.open.ac.uk/54722/.
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'Freethinkers' fluttered into existence on a quiet morning in Belfast as I leafed through some old textbooks at work. A book entitled 'The Rise of Scientific Europe' caught my eye. There, in a section on Scotland's role in scientific progress, was a passing mention ofa curious story: 'In 1696 an 18-year-old Edinburgh University student was executed for denying some of the propositions of Christianity.' A cursory few minutes of internet research uncovered the story of Thomas Aikenhead. In spite of his youth, and the fact that he had neither published his irreligious thoughts nor sought to persuade others to his viewpoint, he had been hanged for blasphemy at the behest of an implacable Scottish Kirk. He was the last person in Britain to suffer the ultimate penalty for the crime. What was it about this event that drew me in? It can be hard to pin down exactly why certain ideas set a story in motion. Nevertheless, I will endeavour in this introduction to identify how this incident from Early Modern Scotland found some sort of echo in my own experience and thinking. When I encountered Thomas Aikenhead's story for the first time, I was preoccupied with the issue of religious faith. Over the preceding years I had moved from belief to unbelief. This transition had been gradual. It was (and still is) accompanied by a sense of both liberation and bereavement. The idea that a person might be executed for atheism - for a thought, rather than a deed - was unsettling. While Europeans from the Judeo-Christian tradition can console themselves that such punishments are - literally - a thing of the past, apostasy remains a dangerous path to follow in many other parts of the world. Thomas Aikenhead's story may be history, but the issues he wrestled with - of daring to believe outside the orthodoxy, or to disbelieve altogether - are still current for many people. Thomas was executed in the figurative darkness before the dawn of the Scottish Enlightenment, and this, perhaps, is another reason his story resonates with me. I am a Northern Irish Protestant, and as such am the cultural product of a peculiar mixture of literalist religiosity and the pragmatic outworking of the Scottish Enlightenment. The tension at the heart of the Northern Irish Protestant psyche shows a mindset that is pragmatic, hard-headed and innately sceptical, except when it comes to one specific area of the supernatural - Bible-based religious belief. The Enlightenment respect for rational thought co-exists oddly with unquestioning faith. As I did more research into the historical context in which Thomas's story unfolded I began to see parallels with recent Northern Irish history. The period from 1680 to 1688 in Scotland was one of appalling violence even by seventeenth-century standards. The 'Killing Time' was the culmination of tension between the officially sanctioned Church of Scotland and the Covenanters, who adhered to a more fundamentalist form of Presbyterianism. The Church of Scotland had been a source of anxiety for the monarchy almost from its inception. Unlike the Church of England it was not an established church, and had no bishops. The Stuart kings recognised that such independence was a potential threat to their authority, and tried to rein the church in by imposing an Episcopal structure and - in the case of Charles I - an Anglican-style prayer book. Opposition was expressed through the National Covenant of 1638 and the Solemn League and Covenant of 1643, and increasingly in skirmishes between Covenanters and the authorities. My approach in this critical commentary will be to examine how the novel took shape, and how my reading of both theory and creative work fed into this process. The focus will be on key issues of plot, structure and characterisation, as well as the overarching matter of how I enabled historical fact and creative invention to 'talk' to each other. Chapter Two will consider how other contemporary historical novelists have approached this latter issue, referring particularly to Umberto Bco and Kate Grenville, who have both written reflectively about their creative work. In addition to this I will refer throughout the thesis to other authors of both fiction and non-fiction whose example helped me find ways of bringing the ideas behind 'Freethinkers' to life. Chapter Three will examine my methodology of using primary source materials as an incitement to imagination and character creation, and will illustrate this through an analysis of my use of the various letters and pamphlets generated by Thomas's arrest, trial and execution. Throughout this critical commentary I will analyse the ways in which research, imagination and memory interact and catalyse each other during the creative process, and in Chapter Four I will examine how this fusion has transformed the story of Thomas Aikenhead from historical fact to historical fiction in 'Freethinkers'. The ambition of this critical commentary is to offer not only a 'narrative verdict' on the development of 'Freethinkers', but also to use a combination of analysis and intuition to understand the impulses that brought it into being.
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Marcinkevičiūtė, Justė. "Lietuvių istorinio romano transformacija (Petro Dirgėlos „Karalystė“)." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060619_163946-44480.
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The subject of this work is Lithuanian historical novel transformation. (P. Dirgela‘s „Kingdom“)
In this work Lithuanian paradigm transformation of Lithianian historical novel is analyzed. Basic attention is commited to P. Dirgela‘s novels cycle „Kingdom“, which was written in 20 century. This influental work hardly ever investigated in Lithuanian literature and criticism. Reviewing Lithuanian historical novel evolution, innovation of „Kingdom“ in Lithuanian prose context is emphasized. „Kingdom“ deconstructs traditional Lithuanian historical paradigm, promoted historical distantion clearness.
P. Dirgela‘s work introduces historical implications of Lithuanian past, though author`s and reader`s close time is determined. It is the first decade of independent Lithuania. Historical plane there assumes new literary expression forms. P.Dirgela‘s novel is the complicated „postmodern“ structure work, in which each part is developing new statehood process and it`s present poetic expression aspects. Historical dimension is raised as structure of work, author`s and reader`s found stories and nowadays connection , analogues, phenomenological time providence.
„Kingdom“ is the unique piece both in Lithuanian and in the whole historical prose. The work reveals such new prose position, represents open retrospective providence, join modern and postmodern literary expression means.
Task of master`s work contains introduction and three sections: „Lithuanian historical novel in... [to full text]
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Pignataro, Federica. "Novel treatments based on hydroxyapatite for the conservation of historical concrete: a preliminary experimental study." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019.
Find full textAbstract:
Given the enormous abundance of existing concrete structures, the maintenance, rehabilitation and treatment of ageing structures is a remarkable issue. Due to the lack of previous studies in this field, there is an urgent need to develop a systematic methodology and proper materials that can be used in the treatment of structural defects.
The long-term performance of concrete buildings depends on the interactions with the environment, the use of the structure, the design, the structural defects and the quality of materials. By considering all these aspects together, it is possible to estimate the pathology of the building and to successfully design its rehabilitation. There is also a need for scientific research to better understand the behavior of historical concrete in order to identify the correct path of suitable and lasting solutions. For these reasons, the improvement of historical concrete buildings, should be constantly researched in depth.
This study aims at identifying the performance that results from the formation of the calcium phosphates ideally hydroxyapatite, HAP [1], by using it as a consolidant for cement-based materials. Three ammonium dihydrogen phosphate-based solutions have been investigated.
The method is based on the application of aqueous phosphate solution for the formation of HAP, the most stable CaP phase, on concrete specimens.
The experimental campaign has been divided into a first chemical characterization, and secondly a mechanical one. Regarding the chemical characterization, FTIR test, calcimetry test, SEM analysis, EDS analysis, Mercury Intrusion Porosimetry (MIP), were performed. The mechanical characterization was carried out by the Young’s modulus determination, abrasion test, double punch test, bending test and compression test.
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Carvalho, Alyssa May. "The novel as cultural and historical archive: an examination of Marlene van Niekerk's Agaat (2006)." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1224.
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This research engages with a contemporary theoretical debate in the literary field, namely the ability of fictional texts to contribute to archival records. Contemporary research in archival discourse suggests that there are many intersections between fiction and the archive. Using Hamilton and others’ seminal text Refiguring the Archive (2002) and Pasco’s “Literature as Historical Archive” (2004) as point of departure, this dissertation offers an analysis of the South African English translation of Marlene van Niekerk’s Agaat (2004, translated 2006). In both form and function, the novel is viewed as a simulation of an archive. In Agaat, Van Niekerk has compiled a fictional archive of two indigenous South African cultures through her portrayal of the two main characters: Afrikaner culture during apartheid as embedded in the focalization of Milla de Wet and remnants of Khoi and/or San culture as emerge from the fictionalised subjectivity of her coloured housekeeper-nurse, Agaat. Through a conceptual and theoretical exploration of archival discourse, I argue that literary texts, such as Van Niekerk’s novel, have the potential to refigure (or creatively redefine) the archive and to enhance its scope and relevance, especially as South Africa undergoes transformation.
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Dorsten, Sara E. "Priest of Wisdom: A Historical Novel Studying Ancient Greek Culture through Creative Writing." Ohio Dominican University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1430788202.
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Al-Qahtani, Sultan S. M. "The novel in Saudi Arabia : emergence and development 1930-1989 : an historical and critical study." Thesis, University of Glasgow, 1994. http://theses.gla.ac.uk/8131/.
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This study aims to establish the identity of the Saudi novel, which has been hitherto neglected by scholars whether Saudi or non-Saudi; to consider the emergence and development of tho Saudi novel during the past sIxty years (1930-90) and the reasons for these; to investigate the peculiarities of the Saudi novel as well as the influence on it of the International novel, and the novel in other Arabic-speaking countries; to examine the factors that have led to the growth of the novel as a literary form in Saudi Arabia since the fifties; and appraise the 'artistic" development that has taken place In the novel itself, and in individual novelists since that time.
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Ouvarova, Svetlana. "Metaistorija Bulata Okudžavy : Obraz dokumenta v romane Putešestvie diletantov." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8420.
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This study examines Okudzhava’s depiction of the process of documentalization of the past as a defining feature of the novel Puteshestvie diletantov, giving reason to consider it a form of metahistory, or an artistic statement on the subject of historical knowledge. The image of the document plays a central role in the novel Puteshestvie diletantov. Through it, Okudzhava depicts the process of knowing and (re)creating the past, as well as the process of its deformation, supplementation and modification. In the form of a document, the past finds existence in time and space, finds its author and addressee, and becomes submerged in a constantly changing context. Okudzhava does not contest the truth of the past, but rather problematizes it, immersing the reader in its real element – the narrative one, permeated by the creative will of the individual. Within this element, two juxtaposed narrative streams stand out clearly: the fictional and the documentary, each shaping the picture of the past in different ways. By thematicizing the issue of documents as evidence, Okudzhava at the same time thematicizes the influence of narrativity on the process of our recreation of past events, as well as on the course of these same events. The act of compiling a document and the act of narration appear in the novel as the driving force of the action and are treated by the author of Puteshestvie diletantov as a fully fledged manifestation of human will in History. In this way, the metafictionality of the novel (its thematicization and problematization of various narrative forms) becomes the key to its metahistoricality (the thematicization and problematization of knowledge of the past, the composition of History), inasmuch as History itself is represented here in the form of a narrative stream.
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Kapp, W. "The treatment of Historical space in selected works by Thomas Pynchon." University of the Western Cape, 2004. http://hdl.handle.net/11394/8199.
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Magister Artium - MAThe focus on space and spatiality is relatively new in literary studies and also not unproblematic. Problems arise from the way in which these concepts are constructed, described, defined and interpret~. It is possible to derive numerous kinds of space, such as historical space, physical space, metaphysical space and religious space, to name a few, from the structure or thematics of a novel. This in itself presents a problem, since the literary scholar must differentiate between these spaces in order to determine which will be most useful for study of a particular aspect. There does not seem to be a coherent theoretical position in literary scholar regarding space, and thus various views of theorists will be considered. Gullon (1975:21), in a seminal article on space entitled On Space in the Novel provides a possible definition of space, with reference to another seminal article, this time by Joseph Frank when he states that "Frank calls 'spatial' the form of those works that at a given instant in time concentrate actions that can be perceived, but not related, simultaneously". This definition denotes a further complication engendered by space, namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. It also seems bound to time, but in a sense bridges the temporal gaps in a novel since it brings together parts that are not necessarily adjacent to each other temporally. Time becomes spatialized by treating events in the novel as separate chunks which can be rearranged and linked to each other. 1bis creates a more coherent and comprehensive picture of events in a text. namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. The main point in this regard seems to be creating patterns. This brings together more elements for the reader to be viewed at once, allowing him or her to attain a broader perspective on the text.
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Bragg, Thomas Glynn. ""A thousand peculiar and varied forms" space and narrative in the nineteenth-century British historical novel /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024919.
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Van, Zeller Marcia. "“Cruel Capes”: a novel; and the nexus between fact and imagination: a discourse of the historical fiction genre in contemporary novels: an exegesis." Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/319.
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The allegedly daring deeds of 16-year-old Grace Bussell and Sam Isaacs – legendary heroes of the 1876 Georgette shipwreck – are questioned in the historical novel, Cruel Capes, the creative component of this thesis. The production of the accompanying exegesis has informed the creative and ethical approach to revisioning the Georgette rescue. Both components strive to answer the central research question: How can a writer of historical fiction ethically negotiate the divide between fact and imagination?
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Arias, Maria Helena de Moura [UNESP]. "O homem que enganou a província ou as peripécias de Qorpo-Santo: uma leitura de Cães da província, de Luis Antonio de Assis Brasil." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/103659.
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arias_mhm_dr_assis.pdf: 422514 bytes, checksum: f3410816bc66fd9029f832323edaff3f (MD5)O presente trabalho tem por objetivo o estudo do romance Cães da Província, de Luiz Antonio de Assis Brasil, publicado em 1987, que tem como protagonista o dramaturgo José Joaquim Campos de Leão, o Qorpo-Santo. O cenário é a cidade de Porto Alegre das últimas décadas do século XIX, época em que Qorpo-Santo viveu e criou o seu teatro, reconhecidamente inusitado e, por isso, incompreendido. Este romance apresenta elementos instigantes como, por exemplo, a freqüente utilização da intertextualidade, principalmente com a obra do dramaturgo gaúcho. Sendo assim, pretendemos abordar as características gerais que determinam o fator estético, no âmbito do novo romance histórico, contempladas em Cães da Província, para mostrar como a literatura, valendo-se da elaboração da linguagem, trabalha os elementos da história, ordenando-os e reescrevendo-os de modo particular. Ainda que, sem furtar-se a discutir os problemas do homem em sua relação com seus semelhantes, e com o contexto em que está inserido, o novo romance histórico não pretende apresentar verdades absolutas, mas verdades relativas que, pela plurissignificação da linguagem, possibilitam ao leitor confrontar essas variantes para poder escolher dentre elas a que mais se aproxime de seu desejo.
This paper aims to study the novel Cães da Província of Luiz Antonio de Assis Brasil, published in 1987, whose protagonist is the playwright José Joaquim Campos de Leão, the Qorpo-Santo. The setting is the city of Porto Alegre in the last decades of the nineteenth century, when Qorpo-Santo lived and created his theater, admittedly unusual and so misunderstood. This novel presents instigating elements such as the frequent use of intertextuality, especially with the work of the south Brazilian playwright. Therefore, we intend to address the general characteristics that determine the aesthetic factor, in the context of new historical novel, contained in Cães da Província, in order to show how the literature, considering the development of language, works with the elements of History, ordering them and rewriting them in a particular way. Even if, without discussing the problems of man in his relationship with his peers, and with the context in which it is inserted, the new historical novel does not intend to present absolute truths, but relative truths that, by the plurisignification of language, enable the reader to confront these variants to choose, among them, the one that comes closest to his desire.
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Porrata, Francisco Eduardo. "Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela histórica." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/40.
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The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso, the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist’s approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier´s El arpa y la sombra and Posse´s Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power.
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Galdikienė, Ernesta. "Mitinė jūrinės valstybės realybė Petro Dirgėlos istorinių romanų cikle "Karalystė"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110711_111257-95055.
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P. Dirgėlos ,,Karalystė“ atspindi istorinio romano virsmus. Procesų cikliškumas (praeities sugrįžimas į dabartį) valstybės istorijoje, vieno proceso ar reiškinio priklausomybė nuo kito – tai P. Dirgėlos literatūrinių vaizdų ir mąstymo esmė. „Karalystę“ galima suvokti kaip dialoginę mito ir istorijos struktūrą, o steigiamą Karalystės erdvę – kaip mitoistorinę realybę. ,,Karalystėje“ pristatyta simbolinės realybės struktūra iš esmės sutampa su mitinės, istorinės, socialinės ar kitokios realybės struktūromis. Pasirinktas tik vienas iš daugelio šiam veikalui reikšmingų jo simbolinės tvarkos epicentrų: mitinė jūra ir iš jos kylantis mitinis jūrinės Lietuvos valstybės vaizdas. Darbo tikslas yra įvardyti mitinę jūrinės (Lietuvos) valstybės realybę ir aptarti jos santykį su kitomis simbolinėmis struktūromis Petro Dirgėlos romane ,,Karalystė“. Rašant darbą buvo remiamasi šiuolaikinėmis mito teorijomis, hermeneutiniu ir psichoanalitiniu mito realybės interpretavimu, istoriniu kultūriniu literatūros aiškinimu, istorijos ir literatūros subjekto struktūros samprata J. Lacano ir kitų autorių veikaluose.P. Dirgėla’s „Kingdom” reflects the conversions of a historical novel. P. Dirgėla’s literary images and basis of thinking is related with cyclical processes in the history of the state (when the past returns to the present) as well as the interdependence of processes or phenomenon’s. „The Kingdom”can be understood as the interactive structure of myth and history and the set up of the Kingdom’s space as mitohistorical reality. The symbolic structure of reality presented in the „Kingdom” largely coherent with the mythical, historical, social or other structures of reality. There was selected only one of the most significant works of the symbolic epicenter of the procedure: a mythical marine and the rising image of Lithuania as mythical marine state. The aim of this paper is to identify the reality of Lithuania as the mythical marine state and discuss its relationship with other symbolic structures in P. Dirgėla’s novel „The Kingdom”. The writing of the work is based on modern theories of myth, hermeneutical and psychoanalytical interpretation of myth reality, historical and cultural interpretation of literature as well as on the concept of history and literature body structure which is found in J. Lacan and other author’s works.
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Jones, Joanne. "A study of the significance of the Australian historical novel in the period of the History Wars, 1988 - present." Thesis, Curtin University, 2012. http://hdl.handle.net/20.500.11937/2638.
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Australian historical novels and the History Wars (1998-2008). The period of recent Australian cultural history known as the History Wars was of unprecedented significance in reshaping the relationship between the nation and its colonial past. While much of this cultural “backtracking” (Collins and Davis) was due to the groundbreaking and politically efficacious work of revisionist historians, an assessment of the role played by historical fiction during this time of unsettling and “hidden” histories is due.This thesis takes the publically-waged debate over the suitability of novelists to render authoritative versions of significant events or periods as its starting point. From there, however, it delves deeper into the politics of form, analysing the connection between the realist modes of traditional, empiricist histories and the various explorations of the colonial past that have been figured through different historical novels. The forms of these novels range from classic realism to frontier Gothic, various Romanticisms, magical realism, and reflexive post-modernism. In particular, I investigate the relationship between politics and form in Rodney Hall’s Captivity Captive (1988), David Malouf’s Remembering Babylon (1993), Kim Scott’s Benang (1999), Richard Flanagan’s Gould’s Book of Fish (2003), and Kate Grenville’s The Secret River (2005) and The Lieutenant (2008).The relative formal freedoms offered through historical novels offer the chance to confront the past in all of its contradiction and complexity. The terrain of the postmodern and historical sublime — of loss and uncertainly— is one in which historical fiction can perform an important political and ethical role. The immeasurably vast space which lies beyond history, that space of those who are often unrepresented, often victims, often silent, is an abyss into which fiction, particularly historical fiction, is able imaginatively and ethically to descend.
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Münster, Sander, Marcus Breitenstein, Jonas Bruschke, Kristina Friedrichs, Cindy Kröber, Frank Henze, Ferdinand Maiwald, and Florian Niebling. "Novel Approaches to research and discover Urban History." TUDpress, 2018. https://tud.qucosa.de/id/qucosa%3A33847.
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Photographs and plans are an essential source for historical research (Münster, Kamposiori, Friedrichs, & Kröber, 2018) and key objects in Digital Humanities (Kwastek, 2014). Numerous digital image archives, containing vast numbers of photographs, have been set up in the context of digitization projects. These extensive repositories of image media are still difficult to search. It is not easy to identify sources relevant for research, analyze and contextualize them, or compare them with the historical original. The eHumanities research group HistStadt4D, funded by the German Federal Ministry of Education and Research (BMBF) until July 2020 consists of 14 people – including 4 post-doctoral and 5 PhD researchers. Since a focal interest is to comprehensively investigate how to enhance accessibility of large scale image repositories, researchers and research approaches originate from the humanities, geoand information technologies as well as from educational and information studies. In contrast to adjacent projects dealing primarily with large scale linked text data as the Venice Time Machine project (“The Venice Time Machine,” 2017), sources addressed by the junior group are primarily historical photographs and plans. Historical media and their contextual information are being transferred into a 4D – 3D spatial and temporal scaled - model to support research and education on urban history. Content will be made accessible in two ways; via a 4D browser and a location-dependent augmented-reality representation. The prototype database consists of about 200,000 digitized historical photographs and plans of Dresden from the Deutsche Fotothek (“Deutsche Fotothek,”).
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Newell, Tony Scott. "By whose authority, an historical novel set in Labrador and Newfoundland during the first five years of this century and an account of the writing of the novel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ30186.pdf.
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Arias, Maria Helena de Moura. "O homem que enganou a província ou as peripécias de Qorpo-Santo : uma leitura de Cães da província, de Luis Antonio de Assis Brasil /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/103659.
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Orientador: Antonio Roberto EstevesBanca: Ana Maria Carlos
Banca: Gilberto Figueiredo Martins
Banca: Joaquim Carvalho da Silva
Banca: Andre Luis Gomes
Resumo: O presente trabalho tem por objetivo o estudo do romance Cães da Província, de Luiz Antonio de Assis Brasil, publicado em 1987, que tem como protagonista o dramaturgo José Joaquim Campos de Leão, o Qorpo-Santo. O cenário é a cidade de Porto Alegre das últimas décadas do século XIX, época em que Qorpo-Santo viveu e criou o seu teatro, reconhecidamente inusitado e, por isso, incompreendido. Este romance apresenta elementos instigantes como, por exemplo, a freqüente utilização da intertextualidade, principalmente com a obra do dramaturgo gaúcho. Sendo assim, pretendemos abordar as características gerais que determinam o fator estético, no âmbito do novo romance histórico, contempladas em Cães da Província, para mostrar como a literatura, valendo-se da elaboração da linguagem, trabalha os elementos da história, ordenando-os e reescrevendo-os de modo particular. Ainda que, sem furtar-se a discutir os problemas do homem em sua relação com seus semelhantes, e com o contexto em que está inserido, o novo romance histórico não pretende apresentar verdades absolutas, mas verdades relativas que, pela plurissignificação da linguagem, possibilitam ao leitor confrontar essas variantes para poder escolher dentre elas a que mais se aproxime de seu desejo.
Abstract: This paper aims to study the novel Cães da Província of Luiz Antonio de Assis Brasil, published in 1987, whose protagonist is the playwright José Joaquim Campos de Leão, the Qorpo-Santo. The setting is the city of Porto Alegre in the last decades of the nineteenth century, when Qorpo-Santo lived and created his theater, admittedly unusual and so misunderstood. This novel presents instigating elements such as the frequent use of intertextuality, especially with the work of the south Brazilian playwright. Therefore, we intend to address the general characteristics that determine the aesthetic factor, in the context of new historical novel, contained in Cães da Província, in order to show how the literature, considering the development of language, works with the elements of History, ordering them and rewriting them in a particular way. Even if, without discussing the problems of man in his relationship with his peers, and with the context in which it is inserted, the new historical novel does not intend to present absolute truths, but relative truths that, by the plurisignification of language, enable the reader to confront these variants to choose, among them, the one that comes closest to his desire.
Doutor